From Ecological Sounding Artifacts Towards Sonic Artifact Ecologies
alt.chi: See this, hear this, touch this, keep this
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Erkut, Cumhur
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Serafin, Stefania
Extended Abstracts of the ACM CHI'16 Conference on Human Factors in
Computing Systems
2016-05-07
v.2
p.560-570
© Copyright 2016 ACM
Summary: The discipline of sonic interaction design has been focused on the
interaction between a single user and an artifact. This strongly limits one of
the fundamental aspects of music as a social and interactive experience. In
this paper we propose sonic artifact ecologies as a mean to examine
interactions between one or many users with one or many artifacts. Case studies
from a recently run workshop on product sound design are examined.
Product Sound Design: Form, Function, and Experience
/
Erkut, Cumhur
/
Serafin, Stefania
/
Hoby, Michael
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Sårde, Jonniy
Proceedings of Audio Mostly 2015: A Conference on Interaction with Sound
2015-10-07
p.10
© Copyright 2015 ACM
Summary: Current interactive products, services, and environments are appraised by
their sensory attributes, in addition to their form and function. Sound is an
important factor in these multisensory product appraisals. Integrating this
sound opportunity into the design and development of interactive products,
which are fit for real-world, yet constitute a strong brand identity, remains a
challenge. We address this challenge by applying the research know-how of an
academic institution and business practices of a sound agency SME within the
core R&D and production process of the third industrial partner. Our
approach has clear application scenarios in, e.g., extended wireless headsets,
car audio appliances, and portable entertainment devices. We describe the
prototypes developed during the project life span, and the activities and
outcomes of a half-day workshop designed to disseminate the project results.
Spatial Sound and Multimodal Interaction in Immersive Environments
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Grani, Francesco
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Overholt, Dan
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Erkut, Cumhur
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Gelineck, Steven
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Triantafyllidis, Georgios
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Nordahl, Rolf
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Serafin, Stefania
Proceedings of Audio Mostly 2015: A Conference on Interaction with Sound
2015-10-07
p.17
© Copyright 2015 ACM
Summary: Spatial sound and interactivity are key elements of investigation at the
Sound And Music Computing master program at Aalborg University Copenhagen.
We present a collection of research directions and recent results from work
in these areas, with the focus on our multifaceted approaches to two primary
problem areas: 1) creation of interactive spatial audio experiences for
immersive virtual and augmented reality scenarios, and 2) production and mixing
of spatial audio for cinema, music, and other artistic contexts. Several
ongoing research projects are described, wherein the latest developments are
discussed.
These include elements in which we have provided sonic interaction in
virtual environments, interactivity with volumetric sound sources using VBAP
and Wave Field Synthesis (WFS), and binaural sound for virtual environments and
spatial audio mixing. We show that the variety of approaches presented here are
necessary in order to optimize interactivity with spatial audio for each
particular type of task.
The StringPhone: a novel voice driven physically based synthesizer
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Teglbjærg, David Stubbe
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Andersen, Jesper S.
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Serafin, Stefania
Proceedings of Audio Mostly 2015: A Conference on Interaction with Sound
2015-10-07
p.31
© Copyright 2015 ACM
Summary: This paper describes the development of TheStringPhone, a physical modeling
based polyphonic digital musical instrument that uses the human voice as input
excitation. The core parts of the instrument include digital filters, waveguide
sections and feedback delay networks for reverberation. We describe the
components of the instrument and the results of an informal evaluation with
different musicians.
The influence of step frequency on the range of perceptually natural visual
walking speeds during walking-in-place and treadmill locomotion
Perception
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Nilsson, Niels Christian
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Serafin, Stefania
/
Nordahl, Rolf
Proceedings of the 2014 ACM Symposium on Virtual Reality Software and
Technology
2014-11-11
p.187-190
© Copyright 2014 ACM
Summary: Walking-In-Place (WIP) techniques make relatively natural walking
experiences within immersive virtual environments possible when the physical
interaction space is limited in size. In order to facilitate such experiences
it is necessary to establish a natural connection between steps in place and
virtual walking speeds. This paper details a study investigating the effects of
movement type (treadmill walking and WIP) and step frequency (1.4, 1.8 and 2.2
steps per second) on the range of perceptually natural visual walking speeds.
The results suggests statistically significant main effects of both movement
type and step frequency but no significant interaction between the two
variables.
The role of sound in the sensation of ownership of a pair of virtual wings
in immersive VR
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Sikström, Erik
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de Götzen, Amalia
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Serafin, Stefania
Proceedings of Audio Mostly 2014: A Conference on Interaction with Sound
2014-10-01
p.24
© Copyright 2014 ACM
Summary: This paper describes an evaluation of the role of self-produced sounds in
participants' sensation of ownership and control of virtual wings in an
immersive virtual reality scenario where the participants were asked to
complete an obstacle course flight while exposed to four different sound
conditions The experiment resulted in either none or very small differences
between the experimental conditions.
Posters
NIME 2014: New Interfaces for Musical Expression
2014-06-30
p.67
© Copyright 2014 Authors
CHIMAERA -- the poly-magneto-phonic theremin -- an expressive touch-less hall-effect sensor array
+ Portner, Hanspeter
Collaborative Live-Coding with an Immersive Instrument
+ Wakefield, Graham
+ Roberts, Charlie
+ Wright, Matthew
+ Wood, Timothy
+ Yerkes, Karl
Composing for DMIs -- Entoa, a dedicate piece for Intonaspacio
+ Mamedes, Clayton
+ Rodrigues, Mailis
+ Wanderley, Marcelo M.
+ Manzolli, Jônatas
+ Garcia, Denise H. L.
+ Ferreira-Lopes, Paulo
Conducting collective instruments: A case study
+ Comajuncosas, Josep
+ Guaus, Enric
Conductive Music: Teaching Innovative Interface Design and Composition Techniques with Open-Source Hardware
+ Bertelli, Enrico
+ Robertson, Emily
Controlling Physically Based Virtual Musical Instruments Using The Gloves
+ Serafin, Stefania
+ Stereo, Stefano
+ Mitchell, Tom
+ Grani, Francesco
+ Madgwick, Seb
+ Perner-Wilson, Hannah
Designing Mappings for the Sponge: Towards Spongistic Music
+ Marier, Martin
Designing Sound for Recreation and Well-Being
+ Andersson, Anders-Petter
+ Cappelen, Birgitta
+ Olofsson, Fredrik
Distributing Mobile Music Applications for Audience Participation Using Mobile Ad-hoc Network (MANET)
+ Lee, Sang Won
+ Essl, Georg
+ Mao, Z. Morley
El-Lamellophone -- A Low-cost, DIY, Open Framework for Acoustic Lemellophone Based Hyperinstruments
+ Trail, Shawn
Gesture and Embodied Metaphor in Spatial Music Performance Systems Design.
+ Graham, Ricky
+ Bridges, Brian
Improvasher: a real-time mashup system for live musical input
+ Davies, Matthew
+ Stark, Adam
+ Goto, Masataka
+ Gouyon, Fabien
In A State: Live Emotion Detection and Visualisation for Music Performance
+ Klooster, Adinda van 't
+ Collins, Nick
Musical composition by regressional mapping of physiological responses to acoustic features
+ Wikström, Valtteri
Notation, mapping and composition for the Karlax
+ Mays, Tom
+ Faber, Francis
Polus: The Design and Development of a New, Mechanically Bowed String Instrument Ensemble
+ Johnston, Blake
+ Thrush, Henry Dengate
+ Moleta, Tane
+ Murphy, Jim
+ Kapur, Ajay
Reunion2012: A novel interface for sound producing actions through the game of chess
+ Bugge, Magnus
+ Wilmers, Hans
+ Tveit, Anders
+ Thelle, Notto
+ Johansen, Thom
+ Sæther, Eskil Muan
Robot: Tune Yourself! Automatic Tuning for Musical Robotics
+ Murphy, Jim
+ Mathews, Paul
+ Carnegie, Dale
+ Kapur, Ajay
Sketch-Based Musical Composition and Performance
+ Diao, Haojing
+ Zhou, Yanchao
+ Harte, Christopher Andrew
+ Bryan-Kinns, Nick
Smartphone-based Music conducting
+ Lim, Yang Kyu
+ Yeo, Woon Seung
SOUND TOSSING Audio Devices in the Context of Street Art
+ Gupfinger, Reinhard
+ Kaltenbrunner, Martin
The Birl: An Electronic Wind Instrument Based on an Artificial Neural Network Parameter Mapping Structure
+ Snyder, Jeff
+ Ryan, Danny
The Manipuller II: Strings within a Force Sensing Ring
+ Barenca, Adrian
+ Corak, Milos
The Space Between Us. A live performance with musical score generated via emotional levels measured in EEG of one performer and an audience member
+ Eaton, Joel
+ Jin, Weiwei
+ Miranda, Eduardo
Unsounding Objects: Audio Feature for Control of Sound Synthesis in a Digital Percussion Instrument
+ Hattwick, Ian
+ Beebe, Preston
+ Hale, Zachary
+ Wanderley, Marcelo
+ Leroux, Philippe
+ Marandola, Fabrice
Use of Body Motion to Enhance Traditional Musical Instruments
+ Visi, Federico
+ Schramm, Rodrigo
+ Miranda, Eduardo
Visualizing Gestures in the Control of a Digital Musical Instrument
+ Perrotin, Olivier
+ d'Alessandro, Christophe
Design and evaluation of interactive musical fruit
Wednesday short papers
/
Erkut, Cumhur
/
Serafin, Stefania
/
Fehr, Jonas
/
Figueira, Henrique M. R. Fernandes
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Hansen, Theis B.
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Kirwan, Nicholas J.
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Zakarian, Mariam R.
Proceedings of ACM IDC'14: Interaction Design and Children
2014-06-17
p.197-200
© Copyright 2014 ACM
Summary: In this paper we describe the design and evaluation of a novel, tangible
user interface for interaction with sound, to be implemented in a museum
setting. Our work-in-progress is part of a larger concept for an installation
prioritizing a collaborative, explorative, multimodal experience. Focus has
been centered on novice children, in order to accommodate all potential users
of the museum, and to minimize the risk of excluding users based on skill or
previous musical knowhow. We have developed four instances of a multimodal
device for interacting with sounds via a tangible interface, and called them
Interactive Musical Fruits (IMFs). The IMF consists of an embedded processing
system, which can detect its orientation. Qualitative testing with children has
been performed, to better evaluate the current design state. Positive feedback
from the test subjects upholds the validity and the potential of the IMF as an
interface in a museum context. However, further research is required to improve
the interactive and collaborative aspects of the device, as well as the aural
and visual properties of the IMF.
SiMPE: 8th workshop on speech and sound in mobile and pervasive environments
Workshops
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Nanavati, Amit A.
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Rajput, Nitendra
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Srivastava, Saurabh
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Erkut, Cumhur
/
Jylhä, Antti
/
Rudnicky, Alexander I.
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Serafin, Stefania
/
Turunen, Markku
Proceedings of 2013 Conference on Human-computer interaction with mobile
devices and services
2013-08-27
2013-08-27
p.626-629
© Copyright 2013 ACM
Summary: The SiMPE workshop series started in 2006 with the goal of enabling speech
processing on mobile and embedded devices. The SiMPE 2012 workshop extended the
notion of audio to non-speech "Sounds" and thus the expansion became "Speech
and Sound". SiMPE 2010 and 2011 brought together researchers from the speech
and the HCI communities. Speech User interaction in cars was a focus area in
2009. Multimodality got more attention in SiMPE 2008. In SiMPE 2007, the focus
was on developing regions.
With SiMPE 2013, the 8th in the series, we continue to explore the area of
speech along with sound. Akin to language processing and text-to-speech
synthesis in the voice-driven interaction loop, sensors can track continuous
human activities such as singing, walking, or shaking the mobile phone, and
non-speech audio can facilitate continuous interaction. The technologies
underlying speech processing and sound processing are quite different and these
communities have been working mostly independent of each other. And yet, for
multimodal interactions on the mobile, it is perhaps natural to ask whether and
how speech and sound can be mixed and used more effectively and naturally.
Mobile rhythmic interaction in a sonic tennis game
Demos (2)
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Baldan, Stefano
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De Götzen, Amalia
/
Serafin, Stefania
NIME 2013: New Interfaces for Musical Expression
2013-05-27
p.96
Keywords: Audio game, mobile devices, sonic interaction design, rhythmic interaction,
motion-based
© Copyright 2013 Authors
Summary: This paper presents an audio-based tennis simulation game for mobile
devices, which uses motion input and non-verbal audio feedback as exclusive
means of interaction. Players have to listen carefully to the provided auditory
clues, like racquet hits and ball bounces, rhythmically synchronizing their
movements in order to keep the ball into play. The device can be swung freely
and act as a full-edged motion-based controller, as the game does not rely at
all on visual feedback and the device display can thus be ignored. The game
aims to be entertaining but also effective for educational purposes, such as
ear training or improvement of the sense of timing, and enjoyable both by
visually-impaired and sighted users.
Mobile rhythmic interaction in a sonic tennis game
Interactivity: exploration
/
Baldan, Stefano
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de Götzen, Amalia
/
Serafin, Stefania
Extended Abstracts of ACM CHI'13 Conference on Human Factors in Computing
Systems
2013-04-27
v.2
p.2903-2906
© Copyright 2013 ACM
Summary: This paper presents a game for mobile devices which simulates a tennis match
between two players. It is an audio-based game, so the majority of information
and feedback to the user is given through sound instead of being displayed on a
screen. As users are not requested to keep their eyes on the display, the
device can be used as a motion-based controller, exploiting its internal motion
sensors to their full potential. The game aims to be useful for both
entertainment and educational purposes, and enjoyable both by visually-impaired
(the main target audience for audio-based games nowadays) and sighted users.
Rhythmic walking interactions with auditory feedback: an exploratory study
/
Jylhä, Antti
/
Serafin, Stefania
/
Erkut, Cumhur
Proceedings of the 2012 Audio Mostly Conference: A Conference on Interaction
with Sound
2012-09-26
p.68-75
© Copyright 2012 ACM
Summary: Walking is a natural rhythmic activity that has become of interest as a
means of interacting with software systems such as computer games. Therefore,
designing multimodal walking interactions calls for further examination. This
exploratory study presents a system capable of different kinds of interactions
based on varying the temporal characteristics of the output, using the sound of
human walking as the input. The system either provides a direct synthesis of a
walking sound based on the detected amplitude envelope of the user's footstep
sounds, or provides a continuous synthetic walking sound as a stimulus for the
walking human, either with a fixed tempo or a tempo adapting to the human gait.
In a pilot experiment, the different interaction modes are studied with respect
to their effect on the walking tempo and the experience of the subjects. The
results tentatively outline different user profiles in interacting with such a
system.
Audio-Haptic Simulation of Walking on Virtual Ground Surfaces to Enhance
Realism
Supporting Experiences and Activities
/
Nilsson, Niels C.
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Nordahl, Rolf
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Turchet, Luca
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Serafin, Stefania
HAID 2012: International Workshop on Haptic and Audio Interaction Design
2012-08-23
p.61-70
© Copyright 2012 Springer-Verlag
Summary: In this paper we describe two experiments whose goal is to investigate the
role of physics-based auditory and haptic feedback provided at feet level to
enhance realism in a virtual environment. To achieve this goal, we designed a
multimodal virtual environment where subjects could walk on a platform
overlooking a canyon. Subjects were asked to visit the environment wearing an
head-mounted display and a custom made pair of sandals enhanced with sensors
and actuators. A 12-channels surround sound system delivered a soundscape which
was consistent with the visual environment. In the first experiment, passive
haptics was provided by having a physical wooden platform present in the
laboratory. In the second experiment, no passive haptics was present. In both
experiments, subjects reported of having a more realistic experience while
auditory and haptic feedback are present. However, measured physiological data
and post-experimental presence questionnaire do not show significant
differences when audio-haptic feedback is provided.
Towards an open sound card: bare-bones FPGA board in context of PC-based
digital audio: based on the AudioArduino open sound card system
/
Dimitrov, Smilen
/
Serafin, Stefania
Proceedings of the 2011 Audio Mostly Conference: A Conference on Interaction
with Sound
2011-09-07
p.47-54
© Copyright 2011 ACM
Summary: The architecture of a sound card can, in simple terms, be described as an
electronic board containing a digital bus interface hardware, and
analog-to-digital (A/D) and digital-to-analog (D/A) converters; then, a
soundcard driver software on a personal computer's (PC) operating system (OS)
can control the operation of the A/D and D/A converters on board the soundcard,
through a particular bus interface of the PC -- acting as an intermediary for
high-level audio software running in the PC's OS.
This project provides open-source software for a do-it-yourself (DIY)
prototype board based on a Field-Programmable Gate Array (FPGA), that
interfaces to a PC through the USB bus -- and demonstrates full-duplex, mono
8-bit/44.1 kHz soundcard operation. Thus, the inclusion of FPGA technology in
this paper -- along with previous work with discrete part- and
microcontroller-based designs -- completes an overview of architectures,
currently available for DIY implementations of soundcards; serving as a broad
introductory tutorial to practical digital audio.
Audio Arduino -- an ALSA (Advanced Linux Sound Architecture) Audio Driver
for FTDI-based Arduinos
/
Dimitrov, Smilen
/
Serafin, Stefania
NIME 2011: New Interfaces for Musical Expression
2011-05-30
p.211-216
Keywords: Sound card, Arduino, audio, driver, ALSA, Linux
© Copyright 2011 Authors
Summary: A contemporary PC user, typically expects a sound card to be a piece of
hardware, that: can be manipulated by 'audio' software (most typically
exemplified by 'media players'); and allows interfacing of the PC to audio
reproduction and/or recording equipment. As such, a 'sound card' can be
considered to be a system, that encompasses design decisions on both hardware
and software levels that also demand a certain understanding of the
architecture of the target PC operating system. This project outlines how an
Arduino Duemillanove board (containing a USB interface chip, manufactured by
Future Technology Devices International Ltd [FTDI] company) can be demonstrated
to behave as a full-duplex, mono, 8-bit 44.1 kHz soundcard, through an
implementation of: a PC audio driver for ALSA (Advanced Linux Sound
Architecture); a matching program for the Arduino's ATmega microcontroller and
nothing more than headphones (and a couple of capacitors). The main
contribution of this paper is to bring a holistic aspect to the discussion on
the topic of implementation of soundcards also by referring to open-source
driver, microcontroller code and test methods; and outline a complete
implementation of an open yet functional soundcard system.
Influence of auditory and visual feedback for perceiving walking over bumps
and holes in desktop VR
Interactions
/
Turchet, Luca
/
Marchal, Maud
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Lécuyer, Anatole
/
Nordahl, Rolf
/
Serafin, Stefania
Proceedings of the 2010 ACM Symposium on Virtual Reality Software and
Technology
2010-11-22
p.139-142
© Copyright 2010 ACM
Summary: In this paper, we present an experiment whose goal is to investigate the
role of sound and vision in the recognition of different surface profiles in a
walking scenario. Fifteen subjects participated to two within-subjects
experiments where they were asked to interact with a desktop system simulating
bumps, holes and flat surfaces by means of audio, visual and audio-visual cues.
Results of the first experiment show that participants are able to successfully
identify the surface profiles provided through the proposed audio-visual
techniques. Results of a second experiment in which conflictual audiovisual
stimuli were presented, reveal that for some of the proposed visual effects the
visual feedback is dominant on the auditory one, while for the others the role
of dominance is inverted.
Conflicting Audio-haptic Feedback in Physically Based Simulation of Walking
Sounds
Walking and Navigation Interfaces
/
Turchet, Luca
/
Serafin, Stefania
/
Dimitrov, Smilen
/
Nordahl, Rolf
HAID 2010: International Workshop on Haptic and Audio Interaction Design
2010-09-16
p.97-106
© Copyright 2010 Springer-Verlag
Summary: We describe an audio-haptic experiment conducted using a system which
simulates in real-time the auditory and haptic sensation of walking on
different surfaces. The system is based on physical models, that drive both the
haptic and audio synthesizers, and a pair of shoes enhanced with sensors and
actuators. Such experiment was run to examine the ability of subjects to
recognize the different surfaces with both coherent and incoherent audio-haptic
stimuli. Results show that in this kind of tasks the auditory modality is
dominant on the haptic one.
A Quantitative Evaluation of the Differences between Knobs and Sliders
/
Gelineck, Steven
/
Serafin, Stefania
NIME 2009: New Interfaces for Musical Expression
2009-06-04
p.13-18
© Copyright 2009 Authors
Sound design and perception in walking interactions
Sonic Interaction Design
/
Visell, Y.
/
Fontana, F.
/
Giordano, B. L.
/
Nordahl, R.
/
Serafin, S.
/
Bresin, R.
International Journal of Human-Computer Studies
2009
v.67
n.11
p.947-959
Keywords: Auditory display; Vibrotactile display; Interaction design; Walking
interfaces
© Copyright 2009 Elsevier B.V.
1. Introduction
1.1. Foot-ground interactions and their signatures
1.2. Overview
2. Human perception
2.1. Isolated impact sounds
2.2. Acoustic and multimodal walking events
3. Augmented ground surfaces as walking interfaces
3.1. Physical interaction design
3.2. Control design
3.3. Sound synthesis
3.3.1. Solid surfaces
3.3.2. Aggregate surfaces
3.4. Augmented ground surfaces developed to date
3.5. Example: Eco Tile
4. Affective footstep sounds
5. VR applications and presence studies
5.1. Auditory feedback and motion
6. Conclusions
Summary: This paper reviews the state of the art in the display and perception of
walking generated sounds and tactile vibrations, and their current and
potential future uses in interactive systems. As non-visual information sources
that are closely linked to human activities in diverse environments, such
signals are capable of communicating about the spaces we traverse and
activities we encounter in familiar and intuitive ways. However, in order for
them to be effectively employed in human-computer interfaces, significant
knowledge is required in areas including the perception of acoustic signatures
of walking, and the design, engineering, and evaluation of interfaces that
utilize them. Much of this expertise has accumulated in recent years, although
many questions remain to be explored. We highlight past work and current
research directions in this multidisciplinary area of investigation, and point
to potential future trends.
Developing Block-Movement, Physical-Model Based Objects for the Reactable
/
Dimitrov, Smilen
/
Alonso, Marcos
/
Serafin, Stefania
NIME 2007: New Interfaces for Musical Expression
2008-06-05
p.211-214
© Copyright 2008 Authors
Sonic interaction design: sound, information and experience
Workshops
/
Rocchesso, Davide
/
Serafin, Stefania
/
Behrendt, Frauke
/
Bernardini, Nicola
/
Bresin, Roberto
/
Eckel, Gerhard
/
Franinovic, Karmen
/
Hermann, Thomas
/
Pauletto, Sandra
/
Susini, Patrick
/
Visell, Yon
Proceedings of ACM CHI 2008 Conference on Human Factors in Computing Systems
2008-04-05
v.2
p.3969-3972
© Copyright 2008 ACM
Summary: Sonic Interaction Design (SID) is an emerging field that is positioned at
the intersection of auditory display, ubiquitous computing, interaction design,
and interactive arts. SID can be used to describe practice and inquiry into any
of various roles that sound may play in the interaction loop between users and
artifacts, services, or environments, in applications that range from the
critical functionality of an alarm, to the artistic significance of a musical
creation. This field is devoted to the privileged role the auditory channel can
assume in exploiting the convergence of computing, communication, and
interactive technologies. An over-emphasis on visual displays has constrained
the development of interactive systems that are capable of making more
appropriate use of the auditory modality. Today the ubiquity of computing and
communication resources allows us to think about sounds in a proactive way.
This workshop puts a spotlight on such issues in the context of the emerging
domain of SID.
PHYSMISM: A Control Interface for Creative Exploration of Physical Models
/
Bottcher, Niels
/
Gelineck, Steven
/
Serafin, Stefania
NIME 2007: New Interfaces for Musical Expression
2007-06-06
p.31-36
© Copyright 2007 Authors
Synthesis and control of everyday sound reconstructing Russolo's
Intonarumori
Paper Session 4: Instrument Design
/
Serafin, Stefania
/
de Götzen, Amalia
/
Böttcher, Niels
/
Gelineck, Steven
NIME 2006: New Interfaces for Musical Expression
2006-06-04
p.240-245
© Copyright 2006 Authors
A simple practical approach to a wireless data acquisition board
Poster Session 2: Gesture Controlled Audio Systems
/
Dimitrov, Smilen
/
Serafin, Stefania
NIME 2006: New Interfaces for Musical Expression
2006-06-04
p.184-187
© Copyright 2006 Authors
Connecting strangers at a train station
Papers and Report Sessions
/
Gregersen, Ole
/
Pellarin, Lars
/
Olsen, Jakob
/
Böttcher, Niels
/
Guglielmi, Michel
/
Serafin, Stefania
NIME 2005: New Interfaces for Musical Expression
2005-05-26
p.152-155
© Copyright 2005 Authors
